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The problems of training composers of the national republics of the USSR came to the fore in the 1920s and 1930s of the XX century, when the accelerated formation of national professional cultures began. Professional training of national composers in the 1930s was largely undertaken by the capital higher educational institutions, in particular by the Moscow State Conservatory. It was during this period that the national studios and departments with composer groups were opened in it. This article highlights the process of teaching Tatar composers (S. Saydashev, M. Muzafarov, Dzh. Fayzi, F. Yaarullin, Z. Habibullin, etc.) in the Moscow Conservatory within the framework of the working faculty, ethnographic department, as well as the Tatar opera studio. We revealed the issues of educational tactics of the curator and teacher of the composer group G.I. Litinsky, who was looking for new, nationally oriented methods of teaching. We describe the creative problems encountered by both teachers and students. It is outlined the genre range of the composers creativity. The author of this article analyzes the positive and negative aspects of the educational process aimed at achieving academic level professionalism by the European composers. When studying the problem posed, the author used a complex approach combining the features of historical and analytical methods of research, introduced new, documented facts into scientific circulation. The article is an attempt to build the fullest possible picture of the phenomenon as a basis for a broad scientific interpretation of musical education of national composers in the Soviet era. The materials of this article can be used in the training courses on the history of native and Tatar musical culture.

Professional Training of the Tatar Composers in the 1930s of the ХХ Century